Robin (Hugh) Gibb, CBE (22/12/1949 - 20/05/2012) was an English singer and songwriter, best known as a member of the Bee Gees, co-founded with his fraternal twin brother Maurice and older brother Barry. Their younger brother Andy was also a singer.
Born in the Isle of Man to English parents, the family later moved to Manchester before settling in Brisbane, Australia. Gibb began his career as part of the family trio and when the group found their first success they returned to the United Kingdom where they achieved worldwide fame. In 2004, the Bee Gees received their CBEs from the Prince of Wales at Buckingham Palace for their "contribution to music". With record sales estimated in excess of 200 million units, the Bee Gees became one of the most successful pop groups of all time. Music historian Paul Gambaccini described Gibb as "one of the major figures in the history of British music" and "one of the best white soul voices ever".
After a career spanning six decades, Gibb last performed on stage in February 2012 supporting injured British servicemen and women at a charity concert at the London Palladium. On 20 May 2012, Gibb died at the age of 62 from liver and kidney failure.

Titanic Requiem was composed by Robin Gibb and his son RJ Gibb in 2012. 'It’s A serious subject and it’s not a rock opera. There are no backbeats. This could have been written 300 years ago.” So said the former Bee Gee Robin Gibb in a recent interview about the Titanic Requiem, which he completed recently in collaboration with his son Robin-John. What a curious and touching statement. It made me think there’s nothing in the world more conservative than a rock musician who turns to classical music.
The idea for the piece, written to mark the 100th anniversary of the Titanic’s sinking, was an ingenious one: compose a suite of mixed vocal and orchestral pieces that would trace the doomed ship’s maiden voyage, interweaving this with settings of the Latin Mass for the Dead. It was given its world premiere by assorted soloists, RSVP Voices and the Royal Philharmonic Orchestra. The result is indeed serious, and often dignified and sombre, too.
Prefacing it with a selection of music played on the Titanic was potentially a good idea. A contrast in tone and some anecdotes about the voyage would have been welcome. But what a shame it all had such a desultory air, and was led with such ponderous gravitas by conductor Alan Chircop. A lively compère would have helped.
Things picked up with the Requiem itself, which was performed with terrific focus under the baton of the music’s orchestrator, Cliff Masterson. Robin Gibb’s claim that the music could have been written 300 years ago turned out to be the literal truth, in parts. In the “Maiden Voyage” section there was a scrupulous correctness about the part-writing that would have merited a tick from a 19th-century Leipzig professor. Coupled with a distinctly English tone (born of distant memories of folk music mingled with a kind of Jacobean courtliness), it made for something sweetly earnest.
That feeling lingered in the following “New York Suite”, which you might think would strike a more sassy tone. But this musical voyage never left home waters.